The Interpretation of Bachs Violin Sonata no.

1: Adagio and
Fugue
String Literature Paper

Lidya Evania
00000004821

Universitas Pelita Harapan Conservatory of Music

Karawaci
2016

The Interpretation of Bachs Violin Sonata no. 1: Adagio and Fugue

Unaccompanied violin works has always give a special challenge to violinist
especially in Bachs music. Bachs Six Sonatas and Partitas for solo violin (BWV
1001-1006) can be considered as a fundamental for every violinists technique and
musical maturity 1 . In fact, unaccompanied music can stretches the polyphonic
capabilities of the instrument, exposes weaknesses from the performer that might
normally be hidden by accompaniment. Above all these possibilities, the main reason
of unaccompanied violin is to give performer opportunity to show off2 (virtuoso).
Many of unaccompanied violin works were wrote by great violinist. In their
opinion, writing unaccompanied violin works could make them explore to many new
violin technique possibilities. Sometimes the composers or violinists didnt write in
the music to make it like orchestration or having a good voice-leading but they are
more focus on exploring the technical possibilities in the violin. Passacaglia in G
minor (1676) by Heinrich Biber (1644-1704) can be one example in of
unaccompanied violin works in Baroque period before Bach.
Johann Sebastian Bach was born in Eisenach in 1685 to a musician family. His father,
Johann Ambrosius was a trumpeter for the Duke of Eisenach and music director of
Eisenach in Thuringia. At an early age, Johann Sebastian lost a sister and brother. At
the age of eight, he lost his mother and nine months later, his father died. Bach and
one of his brother, Johann Jakob were taken into the home of his eldest brother,
Johann Christoph who lived in Ohrdruf. At that time, Johann Christoph was a former
pupil of Pachelbel and was known as fine organist. He learned and studied from his
brother. Bach also had a great soprano voice and 3musical talents.

1
Dorottya Fabian, Studies in the Sources and the Interpretation of Music:
Towards a Performance History of Bachs Sonatas and Partitas for Solo Violin:
Preliminary Investigations. Scarecrow Press (2005), 1
2 Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,
Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 4
1

His talents led him to a wealthy choir Micaelis Monastery in Lneburg that provide a
free place for boys who were poor with musical talents. In the 1700s, he moved to
Lneburg, received music education and became a singer in a choir called
Mettenchor (Mattins Choir). However, his growth made him lose his soprano voice
but he became a violinist in the orchestra and accompanist at the harpsicord during
choir rehearsal4 . From there, Bach was starting to make living from his talents
through music by writing cantatas, oratorios, masses etc.
Unfortunately, his expectation to make a good living did not go well so he had to
move from town to town such as Weimar, Arnstadt, Mhlausen, Cthen and Leipzig
was his last place where he stayed until his death. Although he was not widely
recognised as a great composer until early 19th century5, his ability as an organist
were in highly respected during his lifetime. His famous works are the Brandenburg
Concerto, Die Kunst der Fuge (The Art of Fugue), Chorale Preludes, Cantatas,
Oratorios and many more.
Sonata can also means to sound. Sonata was first established in the 16th century. At
that time, it meant anything no sung but played. In the early 17th century, it divided
into 5 or more contrasting movements that were known as sonatas. In Baroque era
sonata have 5 or 6 movements, which also called as suite. It has 2 form, the sonata de
camera and sonata de chiesa. Sonata de camera is a chamber sonata that consists of 2
or more players with keyboard accompaniment and play in dance rhythm. Sonata de
chiesa is a church sonata and they play in serious character. Later in classical era,
sonata usually in 3 movements (sonata form, nowadays), allegro-andante-allegro.

4
Michael Sartorius, Baroque Composer and Musicians: Johann Sebastian
Bach, (Britannica, 2016) .
http://www.baroquemusic.org/bqxjsbach.html (accessed October 6, 2016)
5
Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,
Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 29
2

Sonata usually in sonata or rondo or sometimes a set of variations form. Partita in

strict musical meaning of this term is a variation. But in ungrammatical way, is to
composite work such as a suite6.
The first unaccompanied piece for violin may have been composed by German
violinist, Thomaz Baltzar (1630-1663). He was known for his virtuosity by his fast
playing and use of high position 7 . Another German violinist-composers that
contribute to the development of violin technique and to unaccompanied violin pieces
are Walther, Westhoff and Biber. In unaccompanied violin works, sometimes the
composers create the polyphonic effect through double stops. These three composers
used many double stops and high position such as third or fourth positions which was
rare at that time.

Example 1.1: Allemande for Unaccompanied Violin, Thomas Baltzar8

6 Michael Kennedy and Joyce Bourne Kennedy, the Oxford Dictionary of
Music (New York, NY, USA: Oxford University Press Paperback, 2013), 797
7
ibid, 7
8 Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,
Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 7
3

Example 1.2: Suite for Unaccompanied Violin: Prelude (1st movement), Johann Paul
Westhoff9

Bach wrote his unaccompanied violin works (Six Sonatas and Partitas) in
1720, which can be considered as late Baroque period. These pieces could have
influenced in many styles from German, French and Italian composers but the Italians
held the main role of his writing in Six Sonatas and Partitas. During that time,
instrumental music starting to gain attention and composers start to write instrumental
pieces in certain structures such as variation, fugue, concerto, sonata and suite forms.
Bach successfully merged many distinct styles with his own personal approach. He
was combining the traditional way and the new styles of music in his time10.
Bachs stylistic development is divided into four periods. First period (17031708) was the period when Bach really devoted to organ music. From stylistic
perspective, Bachs music put more stress in the harmony although he still exploring
his own approach. His first Weimar period (1708-1717) can be considered as Bachs
second period when his music was much more mature and he was starting to distinc
his own music. He could merged between German and Italian style that focusing on

9
Ibid, 10
10
Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,
Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 21
4

harmony progression, melodic themes and clarity of form. His third compositional
period took place in Cthen (1717-1723). This can be considered as the important
period in Bachs life. He became a music director in a royal chapel and director of
chamber music by Leopold. As he enjoyed his carrer in Cthen, he also wrote several
important instrumental pieces such as The Well-Tempered Clavier, Inventions,
Brandenburg Concertos, Violin Sonatas and Partitas and Cello Suites. His last
compositional period began when he was in Leipzig until his death in 1723-1750. The
famous works that he wrote in this compositional period is Six Partitas for Keyboard,
Passion according to St. Matthew and Musical Offering11. This can conclude that
Bach wrote his Six Sonatas and Partitas for Violin, he is already in his mature period
(Cthen period).
The original title on the front page of this works is Six Solos for Violin without
Bass Accompaniment (Example 1.3). Bachs music was not recognised widely for
almost century after his death12. In 1821, Felix Mendelssohn heard Bachs music for
the first time and he was influenced by Bachs music. Later on, he discovered The
Passion According to St. Matthew and he made a successful performance in 1829.
After his successful performance, people start to gain interest and search for Bachs
music. Ferdinand David was the first player to play Bach Violin Solo works. He
played Chaconne with Mendelssohn as accompaniment because it was unusual at that
time for instrument players to play without accompaniment. The performance took
place in Leipzig in 1840. David also played Preludio in E major as an encore,
performed with accompaniment as well13. Another composer at that time such as
Robert Schumann also wrote piano accompaniment parts for Bachs solo violin
works.

11
Ibid, 23-26
12 Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,
Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 29
13 Dorottya Fabian, Studies in the Sources and the Interpretation of Music:
Towards a Performance History of Bachs Sonatas and Partitas for Solo Violin:
Preliminary Investigations. Scarecrow Press (2005), 5
5

Example 1.3: The title page of Bachs works: Sei Solo a Violino senza Basso Accompagnato
Libro Primo (Six Solos for Violin without Bass Accompaniment14).

14Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,
Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 27

6

Example 1.4: Schumanns arrangement of Bachs solo violin works15.

Joachim was the first performer who played Bach Violin Solo works without
accompaniment. He also made the first sound recording of these works. In 1903, he

15 Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,
Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 33
7

recorded the Adagio from Sonata in G minor and Bourre from B minor Partita. His
playing was quite free with light bowings, ornamental group that results a clear
articulation. How he excecute the double stops was more in improvisation style
although it still fits to the melodic line16.
Playing in Bachs solo violin works requires many technical challenges. The
first challenge is how to excecute the double stops. It presents polyphonic effects
especially in fugues. The next challenge is to bring the melodic line within the
multiple stops. In Sonata in G minor, especially in Adagio movement, players are
required to create effects to sustain the melodic line. For example the performer
should hold the note a little bit longer in order to sustain the melodic line so the voices
can be heard clearly. Another challenge that relate to double stop is when the main
melody is in the middle or lower voice. Performers need to know where to play in the
bow placement and how they excecute the double stops.
The G minor Adagio can be considered as Prelude not only for the Sonata but
for the whole Sonatas and Partitas17. The G minor have deepness, broadness and
many ornamentation melody. The starting chord is in the most simplest and easiest
way to resonate the violin effect. The chord consists with two open strings, G and D
on the lower which can make the violin to resonate well and B-flat and G on the upper
string. The interesting part is Bach wrote this Sonata in D minor key (1 flat), but the
sound, he made it in G minor key. That makes Bach had to write the E-flat everytime
he used that note. Based on Stevan Sretenovic and Jelena Adamovic research, Bach
probably use modal tonality in this piece18.

16
Dorottya Fabian, Studies in the Sources and the Interpretation of Music:
Towards a Performance History of Bachs Sonatas and Partitas for Solo Violin:
Preliminary Investigations. Scarecrow Press (2005), 6
17

Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,

Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 41
18

Stevan Sretenovic and Jelena Adamovic, The Interpretation of J. S Bachs

Sonata No. 1 in G minor for Solo Violin (Master thesis, University of Adger, 2012),
13
8

There are many elements that Bach used in this movement such as
expressitivity, rubato tempo, ornaments. These elements make this movement have a
specific character to it. Another special impression in this movement is the versality
of the chord playing that allows the performer to express many colors in this
movement19. Adagio consists of chord that harmonically have longer and important
notes and short passages in between the long notes. These shorter passages are more
like improvisation and embelishments.
The legato or slur in this movement is also very important. Sometimes
performer divided the slur into two or maybe three if the slur leads to important
harmony. In Stevan Sretenovic and Jelena Adamovics opinion said The importance
of harmony dictates the speed of the bow of the preparatory slur.20 More important
harmony also requires faster bow speed. But usually performers only concern about
the upper line while the bass note in this movement is also important. The bass note in
most of Bachs music especially in this movement, have another melodic line. Yu-Chi
Wang pointed out several ways to bring out the bass line: first, players can hold and
sustain the bass note longer and play with more weight. Second, performer can use
slower bow speed. Another way is to vibrate so the bass note can resonate and sing21.
In this movement, Bach also used many ornaments or embelishments. Until
now violinists still performe many different kinds of ornaments, both adding and
inrepreting the ones that are already written differently22. These are the examples of
the embelishment in Adagio.

19
Stevan Sretenovic and Jelena Adamovic, The Interpretation of J. S Bachs
Sonata No. 1 in G minor for Solo Violin (Master thesis, University of Adger, 2012),
15
20
Ibid, 29
21
Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,
Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 42
22
Ibid, 31

9

Example 1.5: measure 223

Example 1.6: measure 324

Example 1.7: ornaments in measure 2125

The second movement in this sonata, Fugue is the most famous fugue among
the three fugues in Bachs violin solo works. This fugue can be divided into six parts
that can be considered also as big cadence. The six candences are in measure 14, 24,
55, 64, 87 and 94. Every section leads to different cadence key.

23
Johann Sebastian Bach, eds. Hans Wessely: Sonata No. 1, (London: Joseph
Williams, 1923), 2
24
Ibid, 2
25
Ibid, 3
10

Example 1.8: First cadence that leads to G minor key26.

Example 1.9: Second cadence that leads to D minor key27.

Example 1.10: Third cadence that leads to C minor key28

Example 1.11: Cadence that leads to B-flat major key29

26
Johann Sebastian Bach, eds. Hans Wessely: Sonata No. 1, (London: Joseph
Williams, 1923), 4
27
Ibid, 4
28
Ibid, 6
29
Ibid, 6
11

Example 1.12: Cadence that leads to G minor key30

Example 1.13: Last cadence that ends in G minor key31

In this fugue, Bach also have the motives that become the main melody in this
movement. Starting with upbeat and eighth notes with the same note for four times.

Example 1.14: the main motive in first measure32.

Bach also give a basso continuo effect in the same main melody of sixteenths.
Performers need to understand and feel the harmonic progression in order to know
what note is more important that the others. Schumann wrote piano accompaniment
based on the harmonic progression that Schumann felt.

30
Ibid, 7
31
Johann Sebastian Bach, eds. Hans Wessely: Sonata No. 1, (London: Joseph
Williams, 1923), 7
32
Ibid, 4
12

Example 1.15: Schumann piano accompaniment. The circled notes are the harmonic
progression that needs to be emphasized33.

The first section in this fugue is starting in the dominant notes, D. Soon, the
theme is followed in the tonic note, G. The third voice also start in D but one octave
higher.

Example 1.16: The three voices of Bach Sonata for Solo Violin34

The development part is similar to the first section. However, this part is developing
slowly with big extension and having many new elements. This section can also be
considered as the largest section and the most complex in this movement. This part
can also be the center of the fugue.

33
Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,
Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 47
34 Stevan Sretenovic and Jelena Adamovic, The Interpretation of J. S Bachs
Sonata No. 1 in G minor for Solo Violin (Master thesis, University of Adger, 2012),
78
13

Example 1.17: The Development section. The circled notes are the melodic line35.

There is also a section that contains several modulations.

Example 1.18: Another section that have many modulations36.

In the passage above, there are seven different keys in almost each bar. The first bar is
in C minor key and then followed in F major key. In the next bar, still in F major key
but in different octave and soon followed by another voice in B-flat major and C
minor. After that, it modulates again to B-flat major and C minor.

35 Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,
Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 48
36 Yu-Chi Wang, A Survey of the Unaccompanied Violin Repertoire,
Centering on Works by J. S. Bach and Eugene Ysae (Doctor diss., University of
Michigan, 2005), 52
14

The final section or the Coda in this piece is the climax of this fugue. The interesting
part is that the last melodic theme is in the bass line. Later on, there is a cadenza-like
or improvisation passages where players can play rubato and it ends in the tonic key
of G minor.

Example 1.19: Coda where the melodic line is on the bass line37.

Example 1.20: Ending section where there is a cadenza or improvisation passage38.

Exploration in this Sonata has been a demanding task39. Bach was a genius
composer of all time. He also can be considered as the most influential composer of
all time. His influence is about how he have his own musical language in a traditional
style (Baroque). In playing Bachs or any composers kind of music, playing in the
right character is very important. In Bachs music itself, there are many different ways
to interpret the music. Stevan and Joanna said that these pieces have to be lighter and
strong40. Players also need to understand about the harmonic progression so the
performer can feel which note is more important than the others. Modern performer

37 Ibid, 53
38 Ibid, 53
39 Stevan Sretenovic and Jelena Adamovic, The Interpretation of J. S Bachs
Sonata No. 1 in G minor for Solo Violin (Master thesis, University of Adger, 2012),
116
40 Stevan Sretenovic and Jelena Adamovic, The Interpretation of J. S Bachs
Sonata No. 1 in G minor for Solo Violin (Master thesis, University of Adger, 2012),
44
15

needs to distinguish the Baroque style from the modern demands41. Stevan and Joanna
concluded that there are never final decisions on the performance of this Sonata42.

41 Stevan Sretenovic and Jelena Adamovic, The Interpretation of J. S Bachs
Sonata No. 1 in G minor for Solo Violin (Master thesis, University of Adger, 2012),
116
42
Ibid, 117
16

BIBLIOGRAPHY
Printed Books/Journals
Fabian, Dorottya. Studies in the Sources and the Interpretation of Music: Towards a
Performance History of Bachs Sonatas and Partitas for Solo Violin:
Preliminary Investigations. Scarecrow Press (2005).
Bach, Johann Sebastian and Hans Wessely. Sonata No. 1. London: Joseph Williams,
1923.
Kennedy, Michael, and Joyce Bourne Kennedy. The Oxford Dictionary of Music.
New York: Oxford University Press Paperback, 2013.
Website
Sartorius, Michael. Baroque Composer and Musicians: Johann Sebastian Bach.
Britannica, 2016,
http://www.baroquemusic.org/bqxjsbach.html (accessed October 6, 2016)
Thesis/Dissertation
Wang, Yu-Chi A Survey of the Unaccompanied Violin Repertoire, Centering on
Works by J. S. Bach and Eugene Ysae. Doctor diss., University of
Michigan, 2005.
Sretenovic, Stevan and Jelena Adamovic, The Interpretation of J. S Bachs
Sonata No. 1 in G minor for Solo Violin. Master thesis, University of Adger, 2012.

17